Product Review: Staedtler Mars Lumograph Colour Aquarell Pencils

 

Staedtler Mars Lumograph Colour Aquarell pencils (set of 12)

Preamble: Surprised to see me writing a colored pencil review? So am I! Even before making my commitment to downsizing and destashing, I had lost my motivation to try every new colored pencil and review it. I had passed the point in a hobby when it stopped being fun and became a burden – both materially and mentally. But now when a product does pique my interest enough to try it, it’s fun again!

Staedtler’s Mars Lumograph brand is not new to me. I’ve used the graphite line and especially enjoy the Black (carbon) pencil line. The new Mars Lumograph Colour Aquarell line is part of Staedtler’s “Artist” series.

As far as Staedtler’s watercolor pencils go, I’ve tried the German company’s Karat Aquarell and Design Journey (which I apparently never reviewed) collections, but neither excited me. The Karat Aquarell set had been recommended by a Gage class instructor who tended to favor very hard colored pencils, and those certainly qualify. Overall, Staedtler’s colored pencils haven’t particularly impressed me.

Two things about the new line caught my attention: While inexpensive sets of colored pencils from China or India are a dime a dozen (sometimes literally), and new ones seem to pop up daily on Amazon, colored pencils from major pencil manufacturers are relatively infrequent (though Derwent seems to pump them out often enough). I hadn’t seen anything new from Staedtler in a long time. The second thing was when a YouTube reviewer conjectured that these were comparable to Caran d’Ache Museum Aquarelles! What?? Now, that’s a bold and intriguing statement. I picked up a small set at Blick.

A matte black hexagonal barrel with glossy, color-cued end cap; lightfast star rating and color number and name are on the barrel

When I first swatched the Mars Lumograph Colour Aquarells fresh from the tin with their factory sharpenings, they seemed surprisingly soft. Once I sharpened them and swatched again (which is my habit; pencils always feel softer when they aren’t sharp), they were definitely not as soft as Museum Aquarelles but perhaps close to Cd’A Supracolors. Even this degree of softness is surprising, as German pencils in general are not known for softness (Faber-Castell’s Albrecht Dürer and Polychromos lines being the best examples of typical German hardness).

The bigger surprise, though, was their pigment quality when activated. On my swatch page, I included a few sample swatches of both Museum Aquarelles and Supracolors for comparison.

Swatches made in Hahnemuhle Akademie Aquarell sketchbook

I never expect white watercolor pencils to be as opaque as Derwent Drawing (at right), which is my personal state-of-the-art for pencil opacity, but I like to make comparison swatches just to check.

Full lightfast information is provided in an enclosed brochure for those who care, and each pencil barrel indicates a lightfast rating.

For my test sketch, I used a reference photo that will look familiar to you; I used the same one a few days ago for Pencilvember. My result looks quite different here using a palette I wouldn’t ordinarily use, but the photo seemed to beg for the entire rainbow, giving me an opportunity to use as many of the set of 12 as possible.

11/4/26 Staedtler Mars Lumograph Colour Aquarell pencils in Stillman & Birn Delta sketchbook (photo reference)

For the way I like to use watercolor pencils, especially in the field, the softer, the better (in fact, I now heavily rely on Caran d’Ache Neocolor II crayons, which are softer than any pencil could be), and a thicker core is always better, too. I also prefer a heftier barrel (more comfortable in the hand). For those reasons, the Staedtlers would never surpass Museum Aquarelles in my kit. Nonetheless, Mars Lumograph Colour Aquarell is an unexpectedly good pencil, and I could see taking some into the field.

Left: Museum Aquarelle; right: Staedtler

Museum Aquarelle barrel (top) is just a smidge larger
than Staedtler

Regardless of how I prefer to use them, it’s impossible to dismiss the price difference: Per open-stock pencil, Museum Aquarelle is $4.64 each; Albrecht Dürer is $2.88. Although I haven’t seen open stock prices, the per-pencil price of the Staedtlers in its largest set is about $1.62. That’s a hard price to beat for such good pigment!

The brochure includes this explanation of how Staedtler's logical color
numbering system works. It's a refreshing change from the seemingly idiosyncratic
systems some other manufacturers use.

By this point, there was a time when I would have already rushed out to get the full-range set of 120 colors. With my commitment to staying downsized, I’m not even tempted. If they truly are artist quality, then Staedtler will offer them open stock, and it’s likely that Blick would carry them someday. If that happens, I would definitely look at the natural greens (which I can never find enough of) and especially look for holes to fill in the Museum Aquarelle line (many of which there are). That’s the way I’d like to buy any pencils from now on – only unique colors or ones that seem missing in a well-used line.

In any case, Staedtler Mars Lumograph Colour Aquarells are the most exciting watercolor pencil to join the over-saturated market in a long time.  

Still the Reddest

11/5/26 Maple Leaf neighborhood

Last year I discovered a maple that is by far the reddest tree I’ve seen in these parts. I set out for it again this year on almost the same date, and it still wins. Composing the entire tree in my sketch last time, I remember that I didn’t like my result – the colors seemed washed out and flat, even while using watercolor pencils (it didn’t help that it was drizzling that day).

This time, I played it safe by keeping the sketch tiny (about 2 by 3 inches). All I wanted to do was to get as close as possible to matching the hue I was seeing. I could have spent a few more minutes making the background trees darker, but I wondered if the maple would stand out even more if I kept the firs subdued. In any case, I think human attempts will never match nature, but we all keep trying feebly. Below is a photo that comes a bit closer than my sketch does but still hasn’t quite captured the intensity.

As red as red gets!

Not-So-Limited Palette

 

11/5/26 photo reference (Derwent Drawing and Prismacolor pencils in S&B Zeta sketchbook)

November has been mostly dry so far, but colder than I like, at least for sketching. I get out for walks, but I can’t get motivated to stand on the sidewalk for a half-hour, which is how long this small (about 4-by-5 inches) sketch took – in the comfort of my toasty studio. Sigh – I’m not sure how much on-location practice I’m going to get during Pencilvember (weather is the main reason I’ve done this challenge exclusively from photos the past few years). At least I limited my time on this one to be realistic for on-location work, and it is the type of scene I would and could sketch from life under warmer conditions (unlike the one I practiced from a photo the other day).

I've seen other artists do this, and it's a great idea, but I rarely 
remember to do it: Make swatches of the colors I use right next to 
the sketch.

While I usually try to limit any palette to five or six hues, this colorful foliage scene was too much to resist, and I ended up using a whole rainbow. During my first couple of layers, I kept forgetting that I was using non-soluble pencils and expected to deepen every value and intensify hues with water. Then I’d remember and go back in for a few more layers. I love these pencils so much, though, especially on Stillman & Birn Zeta paper, that it was a satisfying and happy-making sketch.

Incidentally, this type of scene made of multiple layers of foliage fascinates and challenges me no end. I took the photo a few days ago from my upstairs deck. I had photographed it last May, too, thinking it would make a good study someday. I think it’s easier now with varying hues; the all-green look is even more challenging. I’ve included both photos below just because I always find it interesting to see seasonal changes of the same scene. I hope you do, too.

May 2026

November 2026

14 Years in the Making

More than 14 years and finally filled

Through summer, my mission to complete partially filled sketchbooks continued, but at a much slower pace. That’s because I was mostly sketching on location, and those unfinished sketchbooks had all been rejected from field sketching for good reason. I had no intention of using them during prime outdoor-sketching time! Now that the Big Dark has begun, however, I’m doomed to doomscrolling unless I make a concerted effort to avoid it (which I plan to do). My doomscrolling prevention program is still an ideal time to burn through less-than-ideal sketchbooks.

Dated 2/22/12, this sketch on the first page was made long
before my pandemic series of hand sketches!

With some recent sketches made from photos, I finally filled the last pages of this very old spiralbound, hardcover Stillman & Birn Delta sketchbook – one of the first sketchbooks I ever began. In 2012, my first full year of sketching, I didn’t know yet what materials I liked, so I was trying everything. This book had three counts against it: It’s spiralbound, the paper is ivory, and it’s a heavy hardcover. I found only one sketch in it that I had made on location. I must have learned quickly that it was too heavy to haul around, especially with a spiral binding.

The sketch on page 1 is dated Feb. 22, 2012. After using it sporadically through 2016, filling a little more than half its pages, I abandoned it until this year. It’s especially nostalgic to see so many still lives made in the winter months when I was fully committed to drawing from life.

My goal (maybe more like wishful thinking) early this year was to fill all my uncompleted sketchbooks by year’s end. I don’t think I’m going to make it – I have at least three or four more to go – but it’s always satisfying to put another one up in the filled-book bookcase.

This sketch, dated 5/16/12, is the only one in the book made on location. I see that I turned the square book so that the spiral binding was on top -- a good solution for getting it out of the way.

2/13/13 Mostly still lives made with media experiments fill the first half of the book.

11/26/13 This was part of a fun still life series made of objects in alphabetical order.

8/21/14 My beloved first Rickshaw Zero Messenger Bag

2/12/26 A media experiment from a photo

Lifting

 

11/4/26 Maple Leaf neighborhood (Derwent Drawing pencil in S&B Zeta sketchbook)

The sun was already starting to come through by the time I got upstairs, so the morning fog was lifting rapidly. Under pressure to finish quickly, I thought for a moment that graphite would have been a better choice; I could have smudged the foggy effect more efficiently and effectively. (Ironically, the less smudgy benefit of colored pencils worked against me here.)

But I have that choice every day. The purpose of a drawing challenge (for me personally, not as a general rule) is to limit myself to whatever I’ve committed to for the month – and this Pencilvember is all about dry colored pencils. (And oooh, how I love having Derwent Drawing pencils in my hand again!)

Nose to the Ground

 

11/3/26 Derwent Drawing and Prismacolor pencils in S&B Zeta sketchbook (photo reference)

On one of my visits to Thornton Creek Channel last summer, I snapped a few photos of a young woman walking two dogs (my trick whenever I see people walking toward me that I might like to photograph is to wait until they’ve passed me, then turn around; I especially like to snap dogwalkers this way). She couldn’t seem to get them moving because one or the other or both kept stopping for a sniff. I’ve never walked a dog, but I imagine it’s like this more often than not.

I started with the pale blue just to block in the main subjects, so it
doesn't show much in the sketch. The darkest pencil at the bottom
is Derwent Drawing Midnight (6710), which isn't even part of my
Pencilvember palette. I have been keeping it in my daily-carry 
kit for a while, though, because it's a favorite for dark values
without being black.

Technical notes: When using reference photos, I prefer to choose scenes that I might actually sketch from observation because they make better practice. This one doesn’t really qualify because it would have been almost impossible to capture both dogs and their human to this level of detail in real time, but it appealed to me – both the subject matter and the composition. You can probably tell that I became more interested in the dog at left than any other part of the sketch! Nose down, tail up: I see dogs in this gesture often, so it’s worth practicing.

I want to call attention to the subtle modulations of value on that dog (and also on the figure, though less finessed). Even without much detail, I hope it reads well. This is exactly why I love colored (and all) pencils so much: You can’t do this with markers! Or how about that sketch I made the other day of our foggy morning? Impossible with markers!

Pencilvember is On!

 

My initial Pencilvember palette (all Derwent except those marked with P, which are Prismacolors)

Pencilvember is well under way, and you’ve already seen Day 1 from the Dia De Muertos post. Before I get too much further into the month, I wanted to show the palette I’m beginning with (mostly Derwent Drawing with a couple of Prismacolors). I’m sure I’ll change it out as the foliage changes, and as I learn more about how these colors are working. The goal for this month, however, will likely remain consistent: Practice using only non-soluble colored pencils (on location when possible).

11/1/26 Maple Leaf neighborhood
(This sketch is only about 4" square. I'm hoping that keeping sketches small
will compensate for dry colored pencils' time-consuming nature.)

For context: As mentioned in my initial planning post back in September, every now and then I get the urge to try using dry colored pencils, but my practice usually doesn’t last long. For many years now, I’ve relied on water-soluble colored pencils to do most of the heavy lifting on location. Activating pigments with water is such an efficient and effective way to intensify both values and hues that sometimes it feels like cheating.

I’ve practiced using dry colored pencils quite a bit with all the pet portraits I’ve made in the studio the past several years. That’s what showed me the inherent beauty of all dry pencils. No other medium has quite the same ability to convey subtle modulations of texture and value. I adore that look!

Using them in the field, though, is a whole different game. Dry colored pencils are a time-consuming medium. I already miss the speed and efficiency of water-soluble pencils, but I don’t want to get frustrated. Keeping sketches small should help.

My whole InkTober month showed me that using markers is exactly the opposite of pencils, and I missed them. Now I have a whole month to take on a relatively unexplored approach.

11/2/26 Maple Leaf neighborhood; Derwent Drawing pencil
(The challenge with drawing fog, which I think is made for pencil, is to avoid looking like I've achieved wimpy values and instead show that I intended them.)